Taking Woodstock is not about a concert, or indeed is it particularly about social change or the emergence of a new era. Its social commentary is lightweight, though deftly handled, but it is solidly about what Ang Lee has always made films about: relationships and self-awareness. Tiber’s character, alas, doesn’t grow a whole lot, which means the film peters out somewhat, rather like the anticlimax that follows after too much partying.
The film ends with Lang hinting that he would be helping organize another concert, this time at Altamont. Peace and love are all very well, but Lee is well aware that there is another side to that coin.
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